PREFACE
poles. At one extreme are sanctity and superhuman wisdom; at the other fraud and mental disease, self-worship aping humility and personal malignity in the guise of obedience to God. There is a touch of all these qualities, good and bad alike, in Tiresias. He seems to me a most life-like as well as a most dramatic figure.
As to the Chorus, it generally plays a smaller part in Sophocles than in Euripides and Aeschylus, and the Oedipus forms no exception to that rule. It seems to me that Sophocles was feeling his way towards a technique which would have approached that of the New Comedy or even the Elizabethan stage, and would perhaps have done without a Chorus altogether. In Aeschylus Greek tragedy had been a thing of traditional forms and clear-cut divisions; the religious ritual showed through, and the visible gods and the disguised dancers were allowed their full value. And Euripides in the matter of outward formalism went back to the Aeschylean type and even beyond it: prologue, chorus, messenger, visible god, all the traditional forms were left clear-cut and undisguised and all developed to full effectiveness on separate and specific lines. But 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
x
