Robert Browning, Agamemnon (trans.) – Introduction:
“May I be permitted to chat a little, by way of recreation, at the end of a somewhat toilsome and perhaps fruitless adventure ?
If, because of the immense fame of the following Tragedy, I wished to acquaint myself with it, and could only do so by the help of a translator, I should require him to be literal at every cost save that of absolute violence to our language. The use of certain allowable constructions which, happening to be out of daily favour, are all the more appropriate to archaic workmanship, is no violence: but I would be tolerant for once, — in the case of so immensely famous an original, — of even a clumsy attempt to furnish me with the very turn of each phrase in as Greek a fashion as English will bear: while, with respect to amplifications and embellishments, — anything rather than, with the good farmer, experience that most signal of mortifications, ‘to gape for Aeschylus and get Theognis,’ I should especially decline, — what may appear to brighten up a passage, — the employment of a ‘new word for some old one — πόνος or μέγας or τέλος with its congeners, recurring four times in three lines: for though such substitution may be in itself perfectly justifiable, yet this exercise of ingenuity ought to be within the competence of the unaided English reader if he likes to show himself ingenious. Learning Greek teaches Greek, and nothing else: certainly not common sense, if that have failed to precede the teaching. Further, — if I obtained a mere strict bald version of thing by thing, or at least word pregnant with thing, I should hardly look for an impossible transmission of the reputed magniloquence and sonority of the Greek; and this with the less regret, inasmuch as there is abundant musicality elsewhere, but nowhere else than in his poem the ideas of the poet. And lastly, when presented with these ideas, I should expect the result to prove very hard reading indeed if it were meant to resemble Aeschylus, ξυμβαλεῖν οὐ ῥᾴδιος ‘not easy to understand,’ in the opinion of his stoutest advocate among the ancients; while, I suppose, even modern scholarship sympathizes with that early declaration of the redoubtable Salmasius, when, looking about for an example of the truly obscure for the benefit of those who found obscurity in the sacred books, he protested that this particular play leaves them all behind in this respect, with their ‘Hebraisms, Syriasms, Hellenisms, and the whole of such bag and baggage.’ For, over and above the purposed ambiguity of the Chorus, the text is sadly corrupt, probably interpolated, and certainly mutilated; and no unlearned person enjoys the scholar’s privilege of trying his fancy upon each obstacle whenever he comes to a stoppage, and effectually clearing the way by suppressing what seems to lie in it.”