stitutes for the complex forms of classical poetry; hence it may not be inexpedient briefly to state my reasons for adopting them, as affording in my judgment the only adequate vehicle for reproducing the choral odes of the Greek dramas.
With regard to the principles which should guide the translator in the execution of his task, it is, I believe, universally recognized that a translation ought, as faithfully as possible, to reflect the original, both in spirit and in form, and that any wilful or unacknowledged deviation from it is tantamount to a breach of trust. The difficulty of rigidly applying these principles to the translation of the choral odes will be apparent when we remember that the medium through which the thought of the ancient poet has to be re-embodied differs so essentially from that of the original as to render the principle of imitation, with reference to their musical intonations, inapplicable. The futility of attempting to imitate the forms of classical poetry in a language the metres of which are governed not by Time, but by Accent, has been pointed out by Professor Newman, in the preface to his admirable translation of the Iliad, the excellence of which can only be fully appreciated by a careful comparison with the original.
"An accented metre," he says, "in a language loaded with consonants cannot have the same sort of sounding beauty as a quantitative metre in a highly vocalized language. It is not audible sameness of metre, but a likeness of moral genius which is to be
