The sun. [volume] (New York [N.Y.]) 1833-1916, 1894-02-25
eo,sw,u Saith. Tr...l.tions from Greek
TRAGEDIES.

TraQedtrs.
tits evident that the number Of those who
can read the masterworks OF the Hellenic
drama in the original tongue will grow small
by degrees II the study OF Greek In no longer
to be an In separ radio part OF a university edu-
cation. All the more important is 1t that those
masterworks should be worthily reproduced
in English and, to that end. accurate and COM
prehensive scholarship 10 even more indis-
pensable than a remarkable poetic faculty on
the part OF the translator. Neither Mrs. Brown
ing nor Browning was o scholar In the high
and exacting meaning OF the word. and. there
fore their versions OF plays OF Eschylus and
Euripides disappoint those who are familiar
with the form. spirit. and atmosphere as we'll
as the substance OF the original works. No
one would dispute. on the other hand. the
qualifications OF Mr.. Goodwin Smith on the
score OF thorough know edge OF Greek litera-
ture especially OF it's dramatic masterpieces.
and it only remained to be decided by experi-
ment whether no was likewise possessed OF
adequate poetical gifts Only an Affirmative
answer to the question will be given by those
who examine the Specimens Of Greek
TRAGEDY which have lately been published
by the Macmillans The plays. long extracts
from which are here rendered in English verse
by Mr.. GOODWIN SMITH. comprise the Prone
theus Bound. the Persians. the Seven Against
Thebes Agamemnon, tho ChoephorT. and
the Eumenides OF fschylus: Hdipus the
King Tdpus at Colonus. Antigone. Ajax.
Electra the Trachinir and Philoctetes OF So
phocles; the Medea. tho Hippolytus. Alcestis.
the Suppliants Ion Electra. the Baechn.
Hecuba. the PhGnissn. Orestes. IphigeniA
in Aulis and Iphigenia in Taurus OF Euripi-
des. We shall exemplify the notable measure
OF success attained by short excerpts from tho
Prometheus Bound and Agamemnon OF Is
chyus. from the Antigons OF Sophocles. aud
from the Hecuba and the Alcestis OF Euripi-
des. word. however. should previously he
said about the authors method. IL he deter
mined TO run the risk OF a translation in verse
it was because he recognized that prose can
never be an equivalent for poetry. and that
the thoughts and diction OF poetry are alien to
prose. II was at the same time clear to him
| that having chosen verse for his medium, 1t
would lie requisite In the case OF tho Greek
| dramatists TO translate as far as possible. line
| for line il one would not lose the form and
balance which are Of the essence OF Greek art.
| He has also undertaken to preserve. a. far as
| possible, the simplicity OF dietion character
| istic OF tho Greek tragic poets. and to
! avoid English words and phrases suggestive
| OF very modern ideas. A little reflection will
| demonstrate that these are very Rrduous con-
| ditions which the translator has imposed upon
| himself but that he has complied with them
will he admitted by those who will COMPARE
his versions with their originals 1t to be sure.
| mainly the iAmbic sections of tho tragedies
| which are here reproduced. The dithJrAmoic
| character. strained metaphors, tortuous con-
| struetion. aud studied obscurity OF the choTio
odes would render them unsuited for transla-
tion even II one were not perplexed by cor
ruptions OF the text and the discrspant in
terprstations OF commentators. Mr.. Goodwin
| Smith suggests that . nautical translation OF
these choral passages In English Is apt to re-
mind us OF the mstrical versions Of the He
brew psalm. Nevertheless. q part of one
chorus in Esehylus has been presented in
rhythmical prose. and three ehoruses OF So
phoeles and two OF Euripides in verse.