CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library PA 4414.A1Y72 English Dramas of Sophocles rendered In 3 1924 026 593 420 DATE DUE WW r4 Cornell University iHili jb) Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026593420 THE DRAMAS OF SOPHOCLES RENDERED IN ENGLISH VERSE DRAMATIC AND LYRIC BY SIR GEORGE YOUNG BART, M.A, LL.D, FORMERLY FELLOW OF TRINITY COLLEGE, CAMBRIDGE. CAMBRIDGE : DEIGHTON, BELL AND CO. LONDON: GEORGE BELL AND SONS. \dTrovs hropev 2o0o/cXet. Hermesianax, Eleg. 57, restored (see p. xxvii). THE DRAMAS OF SOPHOCLES RENDERED IN ENGLISH VERSE DRAMATIC AND LYRIC / CambrtSae : PRINTED BY C. J. CLAY, M.A. AND SONS, AT THE UNIVERSITY- PRESS. 'C" CONTENTS PAGE Pebface vii Antigone i Notes 60 AjAX 5 . -63 Notes . . . . . . . . . . .123 ELECTRA I2J^ Notes 195 t^'<5EDiPus Tyrannds 199 Notes ■270 Trachiniae 27s Notes 327 Philoctetes .... 331 ifotes ........... 397 \>»^EDIPUS COLONEUS 399 Notes 482 Fragments of the Lost Dramas 485 I. Attic Legends 488 II. Miscellaneous Legends 498 III. Story of Athamas 504 IV. The Argonauts . . . . . 505 V. Story of Telephus 5°? VI. Story of Perseus 511 VII. Wars of Argos and Tliebes . . . 513 Vni. Legends of the House of Atreus . . . • 515 Y. A- ^ CONTENTS PAGE IX. Stories from the Cycle of the War of Troy: i. The Cypria S'^ X. The same continued : 2. The Iliad . . • • 5^" XI. The same continued : 3. The Little Iliad and the Taking of Troy 5^7 XII. The same continued : 4. The Returns of the Heroes . 532 XIII. The same continued : 5. The Odyssey . . ■ 53^ XIV. The later life of Ulysses S41 XV. Satyric Plays 54^ XVI. Unknown Dramas 545 PREFACE Of the principal authors of Greek and Roman antiquity Sophocles perhaps offers the most tempting field to a translator, from the high standard of excellence maintained in all the extant remains of his work, and from the manageable dimensions within which, unfortunately, they are comprised. This version has been for many years a com- panion of my leisure hours. Perhaps, if I had foreseen when I began it how much attention my poet was to receive from contemporary translators, I should in modesty have directed my own steps elsewhere ; for since that date have appeared in print, besides single plays by various hands, complete versions of the seven dramas by Professor Plumptre of King's College, now Dean of Wells, by Professor Lewis Campbell of St Andrews, and by Mr Whitelaw of Rugby School. Each of these publications, in turn, has caused me to hesitate whether I should ever publish this work ; and yet, much as I have myself enjoyed in them, and much as I have learnt from them, I cannot think that either of them has so occupied the ground as to render further intrusion upon it unwarrantable. They all appear to me to labour under one serious defect ; that of being difficult of perusal, apart from the original, as English verse. Their authors, with whom in this respect must be classed Professor D'Arcy Thompson, who in 1862 included in his Ancient Leaves a somewhat prosaic rendering of the Ajax, and Professor Kennedy, whose CEdipus Tyrannus (published 1882) is a marvel of fidelity to the Greek — all, PREFACE with hardly an exception, have approached their task as teachers of Greek, rather than as writers of English. There is, in consequence, in their lines I do not say too much of the Greek scholar, but not enough of the English writer. The exception, if any, is the version by the Dean of Wells. In spite of the too evident haste in which it was composed, it remains, in respect of poetical merit, as was to be expected from so graceful a writer of original verse, the best. On the other hand, although so largely corrected in a second edition as to have been, in many parts, rather rewritten than altered, it still lies open to criticism for defects in scholarship'; while a certain monotony and want of finish have prevented it from maintaining the high rank, even in popular estimation, to which, at its first appearance, it was welcomed by many, by myself among the number. The scholarship of the other versions mentioned I do not venture to criticize ; it is rather in their ideal of poetical translation, in their choice of style, or in their dealings with our common English speech, that I find matter of objection. In particular, the form of blank verse adopted by all, Dr Plumptre not excepted, appears to me inadequate ; being for the most part idyllic rather than dramatic in type, and where dramatic, either showing but little study of good models, or study only of that most dangerous of models, the Samson Agonistes. In none, moreover, have adequate pains been taken with the Choruses ; although, considering the difficulty of recommending to modern taste this charac- teristic element in Greek drama, it would seem that here especially is it incumbent on a translator to do his best. By earlier labourers in the same field, I notice that in 1849 appeared three versions of single plays. That of the Ajax, by the late G. Surges, is only amusing as a specimen of pedantry. Dr Donaldson's Antigone is of unequal merit ; it is often happy, indeed it is sometimes too ingenious for beauty ; on the whole he may be said to have taken more 1 Ex. gi: cf. Aj. 1228 ; O. C. 484, 973, 1263. PREFACE ix pains, and to have reached a higher standard of excellence, where he is excellent, than any of his rivals. A graceful version of the CEdtpus Tyrannus by Sir Francis Doyle excites the wish that he had continued his career as a translator. Mr E. D. A. Morshead has more recently translated the same play with success. The still earlier translators, Franklin, Potter and Dale, are generally admitted to have failed, as the later trans- lators seem to me to fail, in producing anything that can be considered a standard English version of Sophocles. Franklin rather paraphrases than translates ; Potter is more faithful, but is prosaic and clumsy ; Dale, with a better ear for verse, offends by the tasteless insertion of epithets, and by his pomposity of style. I will take as an example the small but very Sophoclean part of Eurydice, Antigone 11. 1183 — 1191 (p. 52). This speech (except as to one word, a.vaxT-Ka.uTov) presents no linguistic difficulty, and is remarkable for its pathos, its directness, its clear indication of character, and the picturesque value of the words employed. "^Q, TrdvTes dffTol, tujv \hytt)v iir7iiTd6fj.7jp ■jrpis ^^oSov iTTelxovaa, IlaXXiiSos 6cas blTiiis iKoiflTjv evyfidTiOP Trpoffijyopos' Kal Tvyx^vta re K\-^dp' dvaatracTTOv 7nJX?;s XaXwcra, Kai fie (pddyyo^ oUdov KaKou )3dXXet 5t' wTtav • OiTTia d^ K\ivofji.aL deiffaffa irpbs 5/iwat{r(, KairoTrX'^aaop^at.. a'XX' flffTts rfv 6 fiOdos a^dis etVare* KaKuv yap oliK diretpos odcr dKo6aofiaL. Franklin is careless, and reads like a translation from Corneille rather than from Sophocles ; but it is remarkable that he alone has avoided the dramatic mistake of repre- senting Eurydice to be already well aware of all that has happened. < citizens, as to Minerva's fane E'en now I went, to pay my vows, the doors 1 burst, and heard imperfectly the sound Of most disastrous news which touched me near. PREFACE Breathless I fell amidst the virgin throng ; And now I come to know the dreadful truth ; Whate'er it be, I'll hear it now ; for oh 1 I am no stranger to calamity. Potter is more literal, but his verse is graceless, and his English is disfigured by harsh inversions. Ye citizens of Thebes, I heard the voice Of rumour, as I came forth, at the shrine Of Pallas, suppliant, to address my vows ; The bars that closed the gates it chanced my hand Was opening ; at that instant the report Of ill, my house affecting, reached my ear. With terror struck, in my attendants' arms I sunk, and life forsook my fainting frame. But tell me all ; repeat the mournful tale ; In woes not unexperienced I shall hear. In the next version, which is Dale's, observe the intruding adjectives "■chaste Athena", '■'■firm bars", '■^whis- pered voice", " seiierest woes''; there is moreover a tone of exaggeration about the whole, which makes it the least pleasing to me of any. Your conference we have heard, O citizens. As we came forth, departing to prefer Our suppliant prayers in chaste Athena's shrine. While yet my hand was loosening the firm bars Which close our palace-gates, the whispered voice Of some domestic evil met mine ear; Trembling I sunk among my maids supine, With sudden terror lifeless. Yet again I bid thee tell thy tale ; for I shall hear it Not unexperienced in severest woes. The Dean of Wells comes next, with a rendering which is surely a great improvement on any of the preceding. A little more accuracy, and a little adjustment, would have rendered the following poetically, though not, I think, dramatically, unexceptionable. My friends, I on my way without, as suppliant bound To pay my vows at Pallas' shrine, have heard PREFACE Your words, and so I chanced to slip the bolt Of the half-opened door ; when lo ! a sound Falls on my ears of evil near at hand, And terror-struck I fell in deadly swoon Back in my handmaids' arms ; yet tell it me, Tell the tale once again ; for I shall hear By long experience disciplined to grief. Professor Campbell is unequal; his last line is very good, and his last but one a failure ; in other respects he is spirited and correct, but falls short of the Dean in taste, and of Mr Whitelaw in fidelity. People of Thebes, the tidings met mine ear As I was coming forth to visit Pallas With prayerful salutation. I was loosening The bar of the closed gate, when the sharp sound Of mine own sorrow smote against my heart, And I fell back astonied on my maids And fainted. But the tale ? tell me once more ; I am no novice in adversity. Mr Whitelaw writes in the same prosaic style as Potter, but improves upon him, both in scholarship and in vigour. Good townsmen all, your conference I heard As to the doors I came, intending now Of Pallas to entreat her heavenly aid. Even as I loosed the fastenings of the gate That opened wide, there smote my ears « word Of sorrow all my own ; backward I swooned, Surprised by terror, in my maidens' arms ; But tell me now your tidings once again. For not unlearned in sorrow I shall hear. Donaldson's strong point, the firm finish of his lines taken separately, is well brought out in the passage. O all ye citizens, I heard the tidings, As I was coming forth to bear my greeting Of supplication to the Goddess Pallas. Just as I loosed the bolt of the closed door. Tidings of my own sorrow pierced my ears. And horrified, I fell into the arms Of these my followers, and my senses fled. Whate'er the story was, tell it again. To hear of sorrow is not new to me. PREFACE Two or three obvious blemishes in these lines might with care have been removed, and in that case this render- ing would have been by a good deal the best, in my judg- ment, of the series. Whatever be the conclusion arrived at, as to the suffi- ciency in point of style, and as to the merits in detail, of previous translations, the publication at the present day of a seventh attempt undoubtedly constitutes a challenge to criticism, and no indulgence need be expected, on the score of good intentions. It is allowable to a challenger, however, to select the shield that he will touch. Besides the special deficiencies above noticed, or exemplified, I seem to myself to find, in all the existing translations, a want, first, of dram- atic spirit in their dialogue, and secondly of poetic fidelity in their lyrical parts. Fidelity I believe I may claim to have preserved, in the Choruses as in the rest; but whether fidelity has been reconciled with the genius of English poetry, and whether dramatic energy has been attained, without sacrifice of dignity, I will not venture to anticipate. My hope is that at worst my rendering may be found more readable, while not less accurate, than any other. I have departed from the common practice of my pre- decessors in one important respect, which it is due to them to acknowledge. Instead of abstaining from consulting the work of others, I have made use of it to the fullest legitimate extent ; though it was not my practice to look at any other translation of a passage, before completing my own first draft. That is to say, all of the recent and much of the earlier versions have been compared, line by line, with the original; and every passage has been carefully revised, in which the rendering of a predecessor put me out of conceit with my own. In the great majority of these instances my work has been amended, not by appropriating that of another, but by devising something which, at the time, at all events, pleased me better than either. Setting aside cases of coin- cidence, there have not been borrowed more, in single lines and half lines, than about twenty in all, from all sources. PREFACE xiii whether verse or prose; together with, perhaps, a score of single words. These obligations have been scrupulously ac- knowledged in my notes. My whole debt, in the shape of assistance to understand the original, and avoid errors, is not so easily acquitted ; and I desire especially to mention in this connexion the instruction I ha^e derived from the recent editions of Professors Jebb and Campbell. The order in which the seven plays have been printed may possibly be considered an innovation. But it is merely that of the most ancient lists, with the Antigone and (Edipus Coloneus transferred to their more probably correct places, in the order of production. From these I suppose them to have been removed, with questionable taste, so as to follow the CEdipus Tyrannus, in order that the Theban story might be read as far as possible consecutively; and perhaps also in order to countenance the fiction that these plays were component parts of an .^schylean Trilogy. Sophocles loses greatly, if his dramas are not studied with some reference to the date at which they were composed. The Philoctetes and (Edipus Coloneus represent a phase of art removed by more than a full generation from that of the Antigone and Ajax. To mention one circumstance only out of many; in the three later plays alone is the influence of Euripides discernible; and much less in the two last than in the Trachinice, written in all probability when that influence was at its height. Questions of text are not often of importance to a trans- lator. I have therefore contented myself with that of Din- dorf {Foeta Scenici Grceci, 1851, and the small Oxford edition of 1847), as being the text most widely circulated in England. All the places have been indicated in notes where a reading of better authority has been preferred, provided the sense of the translation is thereby materially affected. In only four in- stances (Antig. 130; AJax 966; CEd. Tyr. 575; Track. 145) did I venture on a conjectural emendation of my own; in each case the alteration of text is very slight, but that of mean- ing considerable; and the sense in each appeared to me to gain greatly by the change. It was with more relief to my Y. A. c xiv PREFACE apprehensions than disappointment to my vanity, that 1 subsequently found I had been, in every instance, antici- pated; in the first passage by Mr Blaydes, in the second by Eustathius, in the third I am happy to say by the MSS. them- selves, which appear to me to have been altered by Brunck without sufficient warrant, and in the fourth by Mr Paley. A trifling suggestion as to the last word of fr. 33 is rendered superfluous by Bentley's emendation of a diff'erent reading. The fragments of lost plays have not hitherto been in- cluded by any translator except the Dean of Wells; who has given a liberal selection from them, very successfully ren- dered. Some of the best have also been translated by Professor D'Arcy Thompson, and by Professor Campbell, among their miscellaneous writings. In my version I have endeavoured to invest these relics with some further in- terest, through the short notices, chiefly drawn from Welcker (Die Griechischen Tragoedien mit Rikksicht auf den epischen Cydus, Bonn, 1839), of what is either known or plausibly conjectured of the plot and characters of the drama from which each was taken. Since no approximation can in this case be made to a chronological order, I have followed Welcker's example in classifying the plays mentioned ac- cording to subject; but I have not adopted his arrangement, which depends too exclusively upon his comparisons with the Homeric cycle. The CEdipus Tyrannus, as it appears in these pages, was issued separately in 1887, at the time when the play was being produced on the Cambridge stage by the University Greek Plays Committee. The suggestion made in my note on line 445, that Oidipus should then retire, so as not to hear the revelation of Tiresias which follows, "Tiresias, from his blindness, remaining unaware of the fact," was tried by the actors on that occasion, as well as the traditional arrange- ment; and the preference has been given, by many good judges, to the innovation. As I saw the play performed CEdipus made his exit somewhat too abruptly. On a larger stage this would easily have been rectified. PREFACE I shall here mention the principal canons which, by degrees, I established for myself in translation, and by which I have been guided in revision. I do not claim to have discovered anything that is important in the art; indeed most of what follows is rather the restatement of old prin- ciples, some of which seem to me to have been obscured by the fashion of the time. I. First of all stands the hard and yet self-rewarding duty of always taking pains. It is not enough to make careful versions of favourite passages, and to fill up the intervals with a rapidly written sketch. Where the diction of Sophocles is least poetical, the purport is often dramatic- ally most interesting. When his dramatic interest begins to flag, the chances are that he supplies a new source of interest, through his rapid and glowing rhetoric. It is hard on the whole to say whether his more or his less obviously important passages demand the greater care in a translator, or better repay his pains. There is, however, a special reason for fidelity in dealing with passages where, owing to their cele- brity or beauty, it may be assumed that the reader will be the more anxious to know as exactly as possible what the author intended to convey. Such passages it has been my practice to carry about with me, turning them in various ways, and so gradually approaching nearer to a good rendering. Several of the Choruses have been rendered twice, some three times, in different metres, before I could satisfy myself that they might pass. On an average, each play was rather more than two years in hand; and the whole has been repeatedly revised, during the ten years which have elapsed since its completion. II. ' Secondly, although the best of translations can hardly be mistaken for an English original, either ancient or modern, yet none the less must every translation into English be recognizable above all things for an English work. To this end the classic forms of English literature should be strictly observed. It is not permitted to a translator to in- novate. For instance, in the department of metre, Dean xvi PREFACE Alford in his Homer, and Mr Robert Browning in his Agamemnon of ^schylus, attempted an eleven-syllable line, previously unknown, except as a variation of the decasyllabic ; but even Mr Browning marred a great book in consequence ; and Alford is unreadable. Similarly it is not for the transla- tor, as a rule, to be introducing new forms of diction, or new canons of taste, it is already hard enough for him to con- ciliate acceptance for what is exotic in his author, without raising additional difficulties, through his own indolence or caprice. Grsecisms, and vulgarisms, and quaintnesses of all sorts, are alike condemnable ; hard as it is to eHminate them altogether. EngUsh archaicisms are dangerous indul- gences; even the use of "thou" for "you,"' and the cor- responding verb forms, should rarely be employed, and only for good reason assignable. In this respect I am aware that the common practice of translators is against me. Led by the influence of the Bible translators of King James, who followed those of the time of Henry VHI., they overlook the fact that the Elizabethan poets, after trying both usages, re- jected the older one for the newer, except only where a special diction was required, more impassioned, more cere- monious or more peremptory than usual. A double usage, in their case, was rendered possible by the change in com- mon parlance, which was then actually in progress. This change was obviously promoted by the difficulty of dealing in harmonious dialogue with the harsh second persons singu- lar of past tenses. Such forms as "attemptedst " and "banishedst," "rosest" and "raisedst," or (still worse) "soar'dst" and "bor'st" are offences to the ear, for which the convenience of retaining both singular and plural pronoun- forms is an insufficient compensation. There is something to be said, in opposition to rigid purism, in favour of the free use of both forms, as the ear may prescribe; but the alternation should not, of course, be carried into extremes. Always to use "thou" produces upon my ear the effect of falsetto; on the other hand there are passages in which to use "you" is too familiar for tragedy. PREFACE For similar reasons proper names should be given in their EngHsh dresses ; the Greek diphthongs, u's, k's, and terminations in -os being still as much, in my opinion, mere barbarisms in an English book, as when they were first imported, not from Greece, but from Germany. "Aias" and "Poluneikes," in our Roman characters, appear to me not so much Greek, as queer; and such fantastic combinations of letters as "Klutaimnestra"' and "Oidipous"' stand, if for anything, for sounds not so near to the most probable authentic pronunciation of the names, as are the more popular forms in common use among ourselves. I have not used Latin correlatives for the names of Greek deities : but I have allowed myself, as English forms, "Proserpine," and "Jove" for the unmanageable "Zeus'." I have used my full liberty as a writer of English in dealing with proper names, especially in their adjectival forms ; also in throwing back the accent (as in "Et^ocles," "Cad- mean," "Sperchius," and once — metri gratis — "Par- nasus") thereby following, as I consider, the best traditions of the English language. The same traditions are my justification for an occasional abbreviation, such as "Amphi- trite" or "Polydore" pronounced as a trisyllable. In all such matters English rather than Greek rules are to be observed. It is better to do as Shakspeare and Dryden did before us, than to disfigure English verse with Greek spelHng, or to spoil English accent out of deference to Greek quantity. The story of Gibson's hat-box (see his Life by Lady Eastlake, p. 233) may be commended to all critics who, like his Greeks, have an unreasoning respect for "the number Three." '^ In justification of this I may observe that the Greeks themselves evidently disliked the forms of the declined cases of Zeus, and took refuge in Dios, Dia, by preference. The whole subject is a minor matter, in my judgment ; and I here enter rny protest against the ex- aggerated importance attached to it by some Classical periodicals, which did me the honour shortly to notice my version of the QLdifus Tyranm